We delve into the best of science fiction, horror, action, and international cinema, all ready for streaming.
SCIENCE FICTION
‘Furiosa: A Mad Max Saga’
This year has been peculiar for science fiction. One standout narrative was the Broadway production “Maybe Happy Ending,” which takes place in a futuristic Seoul, South Korea, where two outdated robots develop a romance. Streaming series showcased an incredible variety of stories and styles, ranging from “Sugar” to “Fallout” to “Dune: Prophecy.”
Conversely, feature films seemed to oscillate between bland or outright lackluster mega-budget ventures and independent films that repeatedly recycled familiar concepts.
Fortunately, we have George Miller, whose “Furiosa: A Mad Max Saga” reminded us of cinema’s true potential. This prequel to “Mad Max: Fury Road” narrates Furiosa’s (Alyla Browne as a child, Anya Taylor-Joy as a young adult) journey to the Citadel ruled by Immortan Joe (Lachy Hulme), detailing how she lost her arm.
The film consistently escalates in its intensity, with Miller in a league of his own. Why choose a single madman, for example, when your heroine can find herself in a rivalry between two? Thus, the director introduces the warlord Dementus, portrayed by Chris Hemsworth, who revels in a campy performance. While “Furiosa” is frenetic and wild, it also boasts an elegant, masterful classical feel. Miller has preserved his legacy. (Stream on Max.) — ELISABETH VINCENTELLI
HORROR
‘In a Violent Nature’
Amidst a year filled with mediocre haunted houses and lifeless spirits, Chris Nash’s slasher film “In a Violent Nature” delivered an exhilarating jolt — surprisingly so, given its calm yet gruesome nature.
The setup is classic Slasher 101: a powerful, masked figure named Johnny (Ry Barrett) wreaks havoc on young people looking to have a good time in the great outdoors.
However, Nash boldly strips down the norm by portraying Johnny slowly and predominantly from behind, methodically tracking the killer as he roams a serene natural backdrop, accompanied only by the sound of crunching leaves beneath his hefty steps. Johnny dispatches his victims in bizarre and grotesque manners, reminiscent of a Looney Tunes version of Jason Voorhees. Each killing is a rush.
The film’s chilling effectiveness stems from unsettling contrasts—calmness versus brutality, realism versus exaggeration—which engage with malevolence, making it both frightening and unique.
Two additional films that deeply unsettled me include “Longlegs,” Osgood Perkins’ gripping serial killer thriller featuring a deranged Nicolas Cage as the devil’s emissary and a poised Maika Monroe as the timid investigator pursuing him, and “Mads,” David Moreau’s exhilaratingly grim and blood-drenched single-take race toward apocalypse. (Stream “In a Violent Nature” on Shudder. Rent or buy “Longlegs” on popular platforms. Stream “Mads” on Shudder.) — ERIK PIEPENBURG
ACTION
‘Rebel Ridge’
Writer-director Jeremy Saulnier’s “Rebel Ridge” is a fiery anti-police narrative drenched in sharp brutality and volatile local politics. The rural town of Shelby Springs, Louisiana, overseen by corrupt police chief Sandy Burnne (Don Johnson), is orchestrating a sneaky scheme. They exploit a legal loophole to arrest travelers on minor drug charges and seize their cash for departmental use. Unbeknownst to him, Terry Richmond (Aaron Pierre), a Marine and martial arts specialist, shows up with bail funds for his imprisoned cousin, only to be robbed by the local officers.
In this regard, Saulnier’s “Rebel Ridge” often invokes parallels with “First Blood.” While that film delves into veterans’ struggles with post-traumatic stress disorder, “Rebel Ridge” tackles the issue of anti-Black policing (the statute employed by Shelby Springs is notably reminiscent of the 1994 crime bill).
With help from local courthouse clerk Summer McBride (AnnaSophia Robb), Richmond utilizes his military skills to dismantle the town’s oppressive authority. Although Saulnier’s explosive action sequences, like the climactic confrontation with Burnne’s badge-wielding thugs, are captivating, it’s Pierre’s nimble reflexes and piercing blue eyes that lend “Rebel Ridge” its distinctive, adrenaline-fueled edge. (Stream on Netflix.) — ROBERT DANIELS
INTERNATIONAL
‘Inside the Yellow Cocoon Shell’
When seeking remarkable films from global cinema masters, the streaming landscape currently offers a wealth of treasures: Alice Rohrwacher’s adventurous “La Chimera,” Radu Jude’s uproarious “Do Not Expect Too Much From the End of the World,” Mati Diop’s haunting “Dahomey.” Yet, discovering a debut feature by an unknown filmmaker that hits like a bolt of pure originality is a true gem.
Pham Thien An’s “Inside the Yellow Cocoon Shell” begins in Saigon, Vietnam, with a seamless, extended shot that elegantly glides from a football field to a lively outdoor diner to a traffic accident on a nearby street. This sequence’s technical brilliance, with its smooth transitions and surprising focal shifts, manages to soothe and unsettle, establishing the tone for the ensuing film: A young man’s journey from Saigon to his ancestral home with his deceased sister-in-law’s five-year-old son as he grapples with historical scars, family secrets, and existential inquiries. Where many contemporary filmmakers lean on costly effects to elicit awe, Pham achieves it through intuitive creativity and a profound respect for the cinematic medium, which adeptly deceives and enlightens. (Stream on Kino Film Collection.) — DEVIKA GIRISH
